Blank verse should not be confused with free verse.
Blank verse is poetry written with regular metrical but unrhymed lines, usually in iambic pentameter. It has been described as "probably the most common and influential form that English poetry has taken since the 16th century",[1] and Paul Fussell has estimated that "about three quarters of all English poetry is in blank verse".[2]
The first known use of blank verse in English was by Henry Howard, Earl of Surrey in his translation of the Aeneid (composed ; published posthumously, 1554–1557[3]). He may have been inspired by the Latin original since classical Latin verse did not use rhyme, or possibly he was inspired by Ancient Greek verse or the Italian verse form of Italian: [[Verso sciolto|versi sciolti]], both of which also did not use rhyme.
The play Arden of Faversham (around 1590 by an unknown author) is a notable example of end-stopped blank verse.
The 1561 play Gorboduc by Thomas Norton and Thomas Sackville was the first English play to use blank verse.
Christopher Marlowe was the first English author to achieve critical fame for his use of blank verse.[4] The major achievements in English blank verse were made by William Shakespeare, who wrote much of the content of his plays in unrhymed iambic pentameter, and John Milton, whose Paradise Lost is written in blank verse. Miltonic blank verse was widely imitated in the 18th century by such poets as James Thomson (in The Seasons) and William Cowper (in The Task). Romantic English poets such as William Wordsworth, Percy Bysshe Shelley, and John Keats used blank verse as a major form. Shortly afterwards, Alfred, Lord Tennyson became particularly devoted to blank verse, using it for example in his long narrative poem "The Princess", as well as for one of his most famous poems: "Ulysses". Among American poets, Hart Crane and Wallace Stevens are notable for using blank verse in extended compositions at a time when many other poets were turning to free verse.
Marlowe and then Shakespeare developed its potential greatly in the late 16th century. Marlowe was the first to exploit the potential of blank verse for powerful and involved speech:
Shakespeare developed this feature, and also the potential of blank verse for abrupt and irregular speech. For example, in this exchange from King John, one blank verse line is broken between two characters:
Shakespeare also used enjambment increasingly often in his verse, and in his last plays was given to using feminine endings (in which the last syllable of the line is unstressed, for instance lines 3 and 6 of the following example); all of this made his later blank verse extremely rich and varied.
This very free treatment of blank verse was imitated by Shakespeare's contemporaries, and led to general metrical looseness in the hands of less skilled users. However, Shakespearean blank verse was used with some success by John Webster and Thomas Middleton in their plays. Ben Jonson, meanwhile, used a tighter blank verse with less enjambment in his comedies Volpone and The Alchemist.
Blank verse was not much used in the non-dramatic poetry of the 17th century until Paradise Lost, in which Milton used it with much license. Milton used the flexibility of blank verse, its capacity to support syntactic complexity, to the utmost, in passages such as these:
Milton also wrote Paradise Regained and parts of Samson Agonistes in blank verse.In the century after Milton, there are few distinguished uses of either dramatic or non-dramatic blank verse; in keeping with the desire for regularity, most of the blank verse of this period is somewhat stiff. The best examples of blank verse from this time are probably John Dryden's tragedy All for Love and James Thomson's The Seasons. An example notable as much for its failure with the public as for its subsequent influence on the form is John Dyer's The Fleece.
At the close of the 18th century, William Cowper ushered in a renewal of blank verse with his volume of kaleidoscopic meditations, The Task, published in 1784. After Shakespeare and Milton, Cowper was the main influence on the next major poets in blank verse, teenagers when Cowper published his masterpiece. These were the Lake Poets William Wordsworth and Samuel Taylor Coleridge. Wordsworth used the form for many of the Lyrical Ballads (1798 and 1800), and for his longest efforts, The Prelude and The Excursion. Wordsworth's verse recovers some of the freedom of Milton's, but is generally far more regular:
Coleridge's blank verse is more technical than Wordsworth's, but he wrote little of it:His conversation poems such as "The Eolian Harp" and "Frost at Midnight" are the best known of his blank verse works. The blank verse of Keats in Hyperion is mainly modelled on that of Milton, but takes fewer liberties with the pentameter and possesses the characteristic of Keats's verse. Shelley's blank verse in The Cenci and Prometheus Unbound is closer to Elizabethan practice than to Milton's.
Of the Victorian writers in blank verse, the most prominent are Tennyson and Robert Browning. Tennyson's blank verse in poems like "Ulysses" and "The Princess" is musical and regular; his lyric "Tears, Idle Tears" is probably the first important example of the blank verse stanzaic poem. Browning's blank verse, in poems like "Fra Lippo Lippi", is more abrupt and conversational. Gilbert and Sullivan's 1884 opera, Princess Ida, is based on Tennyson's "The Princess". Gilbert's dialogue is in blank verse throughout (although the other 13 Savoy operas have prose dialogue). Below is an extract spoken by Princess Ida after singing her entrance aria "Oh, goddess wise".
Blank verse, of varying degrees of regularity, has been used quite frequently throughout the 20th century in original verse and in translations of narrative verse. Most of Robert Frost's narrative and conversational poems are in blank verse; so are other poems like Wallace Stevens's "The Idea of Order at Key West" and "The Comedian as the Letter C", W. B. Yeats's "The Second Coming", W. H. Auden's "The Watershed" and John Betjeman's Summoned by Bells. A complete listing is impossible, since a sort of loose blank verse has become a staple of lyric poetry, but it would be safe to say that blank verse is as prominent now as it has been any time in the past three hundred years.
Blank verse is also common in German literature. It was used by Gotthold Ephraim Lessing in the tragedy (Nathan the Wise) in 1779, where the lines are 10 or 11 syllables long:[5]